ИСТИНА

In this research we analyse how Gao Xingjian's concept of “omnipotent” theatre, the main idea of which lies in the notion that drama should be reverted to its traditional artistic forms, defines to a great extent the contents of some of his plays. The power of a mythological carnival space and action, which restores theatre in its right to be the only place where gods and deities can be presented to spectators in their archetypical images, seems to have possessed Gao's conscience for a long time. His drama “Collection of the Mountains and Seas” based on the relevant canon is a vivid example of how the theatrical form of a modern mystery play mingled with a variety show performances immanent to Gao's theatre system found for itself a harmonious expression in mythological contents.